Some Necessary Questions of the Play: A Stage-centered Analysis of Shakespeare's HamletBucknell University Press, 1994 - 171 oldal In "For the Purposes of Defense," historian Gene A. Smith examines the politics and ideology of the fleet of small shallow-draft vessels commissioned by President Thomas Jefferson that dominated the United States Navy during the first two decades of the nineteenth century. Designed to maneuver and fight in coastal waters, the vessels had limited ability on the open seas. They were considered defensive rather than offensive craft and have become the focus of the white-water (coastal) - blue-water (seagoing) controversy as well as the navalist-antinavalist debate of the period. When examining the fleet, scholars have charged that Jefferson opposed the navy. He did not, although his most famous quote refers to "the ruinous folly of a navy." Instead, Jefferson was an economy-minded, astute politician who viewed the gunboats as part of a political-military policy rather than a naval program in itself. Gunboats were an economic and political alternative to the exorbitant costs of a blue-water navy. Their perceived initial costs would be small, and when not in use they could be hauled up and protected under cover, eliminating costly maintenance. Staffing them by a naval militia would further lessen their costs. Additionally, they were a defensive weapon that provided few opportunities for incidents at sea that might provoke war. They were also useful in revenue enforcement, suppressing piracy along the coastal frontier, checking the illegal slave trade and smuggling, as well as other nontraditional uses. Moreover, gunboat construction provided a unique political opportunity for the Jefferson administration. Gunboats could be built throughout the country, allowing the distribution of contracts beyond the regular centers of naval activity and to those areas supporting Republican politics. |
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29. oldal
... action . Chekhov's Cherry Orchard is centrally concerned with the relationship of people to the land . The presence of the orchard just offstage is as significant to the action onstage as are the characters within the skene in Greek ...
... action . Chekhov's Cherry Orchard is centrally concerned with the relationship of people to the land . The presence of the orchard just offstage is as significant to the action onstage as are the characters within the skene in Greek ...
60. oldal
... action . ( III.i.77-87 ) The passage defies close reading because it reverses the polarity of words . " Time " is merely a quantitative measure of abuse . If “ action ” means the quest for nonbeing , sleep without dreams , then ...
... action . ( III.i.77-87 ) The passage defies close reading because it reverses the polarity of words . " Time " is merely a quantitative measure of abuse . If “ action ” means the quest for nonbeing , sleep without dreams , then ...
126. oldal
... action and taking action is complex ; at least , it is so when world and theater are not partitioned . In Hamlet , the value of passion as a motive to action is particularly prob- lematic . Hamlet initially marvels at the player's ...
... action and taking action is complex ; at least , it is so when world and theater are not partitioned . In Hamlet , the value of passion as a motive to action is particularly prob- lematic . Hamlet initially marvels at the player's ...
Tartalomjegyzék
Space and Scrutiny in Hamlet | 27 |
Hamlet and Time | 47 |
Hamlet and the Uses | 69 |
Copyright | |
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action actor allows alternative appearance approach audience awareness becomes behavior body character Claudius closet concern conscience consciousness consequences consistently constitute context continues creates critical cultural dead death defined described dialogue discourse distance dramatic effect Elizabethan Elsinore emotional established examine example expectations experience express father feeling final future genre gestures ghost Hamlet Horatio human immediate issue joke kind King Laertes language less look madness means mother Mousetrap moved narrative nature never night observation occurs Ophelia past perceived perception performance person philosophical play play's plot Polonius possible presence Princeton protagonist provides psychological question reading reason reflects relation relationship remains representation represents response result revenge tragedy role scene seems sense sexual Shakespeare significant social soliloquy space speak speech stage suggests theater theatrical theory things thought ultimately University Press York